Monday, August 30, 2010

Madonna's Holiday I: Music and Lyrics

Released without a stand-alone video in September 1983, Holiday became Madonna's first hit (and first signature song) early in 1984. And whereas Madonna has recently signaled her skepticism about or even disdain for some of her other early hits and signature songs, e.g., Into The Groove, she's evidently still very fond of Holiday, citing it as her favorite among her own (not necessarily self-written) songs in an interview in 2005. In this note I take a close look at this terrific record, focusing on Holiday's music and lyrics. In the sequel I discuss how Madonna made Holiday a pop landmark by getting out there and selling it and herself to the world.

Music
Holiday is musically very simple:

Just four chords (in D-maj) arranged in exactly one 4-bar pattern: IV,V|V,vi|IV,V|iii,IV

Each bar in the pattern has the same timing: 3/8 for the first chord, 5/8 for the second chord, i.e., the second chord in each bar is always a quaver ahead of the beat.

Since the first and third bars of the pattern are the same, the overall 'feel' of the pattern is (counted out): theme and theme and up and stretch; theme and theme and down and relax (repeat). That is, given its moderate-quick tempo, Holiday 'feels' very aerobic, or very like an aerobics class. This is crucial, in my view, and I'll make much of it in the sequel.
In part because of its extreme musical simplicity/directness, Holiday isn't musically especially original or forward-looking. Indeed, Holiday is more or less exactly like the direct musical offspring of Chic's Good Times (from 1979) and ABC's Look of Love (from mid-1982). Let's focus on Holiday's LOL-lineage:

LOL bounces around the same four chords as Holiday – IV,V,vi,iii (only in C-maj)

LOL's main verse pattern is the same as the final two bars of Holiday's sole pattern, i.e., IV,V|iii,IV with a 3/8, 5/8 timing within each bar, and essentially the same timbre (muted-chiming, synth chords) picks out the basic changes in both H and LOL

LOL's and H's tempi, synth bass-lines, and string section embellishments are very similar, although in each dimension Holiday is simpler, more metronomic, and more synthetic/electronic than LOL.[1]

Holiday is fleshed out by a buffet of interlocking, Chic-/Nile Rodgers-style, disco guitar figures

Holiday musically climaxes with a delightful piano part due to Fred Zaar. After plinking away in the background for 16 bars or so, Zaar finally breaks out into a solo, bringing the track joyously home.[2] That piano overall is similar to piano in Nick Lowe's I love the Sound of Breaking Glass (from 1978), and Steve Nieve's piano parts in Everyday I Write the Book, a near-contemporary (July 1983) single from Elvis Costello and the Attractions. More generally, Zaar's solo is in the lightly vaudeville piano tradition that occasionally surfaces in the Beatles, as well as in things like Thunderclap Newman's Something in the Air, and then persistently in the mutant pub-rock piano of Nieve, Jools Holland (Squeeze), in Eddie Rayner's playing for Split Enz, and even in Benny Anderson (Abba) at least some of the time. This style of piano is very different from Ann Dudley's brilliant, cod-classical for ABC (and Benny Anderson much of the time), let alone from the (Korg M-1) 'House' piano that dominated dance music for years after about 1988 (and has arguably never really gone away).

It's worth mentioning at this point that the remix of Holiday on Madonna's first greatest hits package, The Immaculate Collection should be avoided at all costs. It barbarically omits the piano solo, thereby decapitating the whole track, and it coats the whole song in various kinds of obsolete audio processing whose micro-latencies destroy the precision-timing and stiffness of the rhythm track.[3] Throughout this note, I therefore discuss just the original single mix of Holiday, which was collected on Madonna's first album, and which was sensitively edited for radio and for lip-synch performances.Lyrics
As we've already seen, Holiday has little musical structure to speak of. Thus, almost all of the variation in the song, e.g., all verse/chorus/middle eight structure, etc., has to be created solely by the vocal line and the lyrics. Holiday doesn't disappoint in this regard, and its basic structure so conceived is as follows: Intro/Chorus/Verse1/Double Chorus (with responses)/Verse2/Chorus (with responses)/Middle 8 (just 4 bars really)/Intro/Chorus (with responses)/Intro (with responses)/Intro (with principal novel variant responses)/Intro+piano solo/Intro to fade (with various responses).
The key to Holiday from this structural-lyrical perspective is its call and response structure, which develops throughout the song. We originally perceive the Intro:

Holiday
Celebrate
Holiday
Celebrate

just as itself. But by the end of the song it's become a 'call' handled by backing vox, and we hear both Madonna and the piano respond to it. Similarly, in the case of the Chorus, we initially hear mostly just its 'call' part:

If we took a holiday
Took some time to celebrate
Just one day out of life
It would be,

it would be so nice

Although the last response line is in place here, the full response side only gets filled in second time through, i.e., in the double Chorus after the first verse. For still another example, we don't originally hear the vocal in the Middle eight (just 4 bars) as a series of responses. But as the Middle eight's constituent parts get recycled as responses to Chorus and Intro calls in the final third of the record, all becomes clear. In sum, by the end of Holiday, we hear its bobbing and weaving vocal parts and apostrophes in place, and zippered together in a way that's immensely satisfying, even exhilarating

From the top, then, and, to be clear, writing all the calls to the left and all responses to the right, we get -
Intro
Chorus:

If we took a holiday
Took some time to celebrate
Just one day out of life
It would be,

it would be so nice

Verse 1:

Everybody spread the word
We're gonna have a celebration
All across the world
In every nation
It's time for the good times
Forget about the bad times, oh yeah
One day to come together
To release the pressure
We need a holiday

Double Chorus (with responses):

If we took a holiday

Oh...Ooo hoo hoo hoo

Took some time to celebrate

Come on let's celebrate

Just one day out of life

Holiday!

It would be,

it would be so nice

If we took a holiday

Oo yeah oh yeah

Took some time to celebrate

Come on let's celebrate

Just one day out of life

Just one day out of life!

It would be,

it would be so nice

Verse 2:

You can turn this world around
And bring back all of those happy days
Put your troubles down
It's time to celebrate
Let love shine
And we will find
A way to come together
And make things better
We need a holiday

Is there anything to these lyrics behind all of this busy, ingenious structure of Intro and Chorus call patterns, zipped and unzipped with varying responses? Probably not. In effect Holiday revolves tightly around the twin concepts Holiday and Celebrate/celebration for its whole length (perhaps drawing on the 'Holiday, Holiday, Holiday, Celebrate!' chorus of Change's A Lover's Holiday (1980)). But spinning though that so gracefully and unmechanically that a song with an unrelenting groove and a single chord progression nonetheless ends up powerfully expressing freedom and release is a significant achievement in my view. It may look easy to write and perform a lyric that invites and urges everyone 'all around the world' to get up and dance and 'get together' - to speak in a plausible 'we' without seeming obnoxious or ridiculous - but evidently it isn't. (I hail and discuss the significance of Holiday's egoless-ness in the sequel.)
The super-positivity that Holiday hymns became a key theme within dance music over the next 20 years (sometimes forming the attitudinal raison d'etre for whole sub-genres, e.g., Hi-NRG, Happy Hardcore, Italo, etc.), but rarely, if ever, was that theme as well articulated and demonstrated as Madonna and her producer managed in Holiday.

[1] And whereas Holiday had a train journey on its single sleeve, LOL has lately (and deliciously) soundtracked Virgin Rail ads.[2] According to wiki, Zaar was a friend of Madonna's and her producer 'Jellybean' Benitez's, and his part was a last-minute, at-home/extra-studio addition to the track.[3] 'Jellybean''s straight remix of Holiday for Madonna's 1987 You Can Dance collection of dance versions is OK in my view, but the 'drier'/less processed sound of the original mix is still better. 'Jellybean''s 'Dub version' remix of Holiday for the same collection is more interesting: it's just a classic, largely instrumental, 'separate all the parts', 12" mix. If you're a fan, everything from the piano to the layers of Nile Rodgers-ish guitars to the backing vox to the drum-machine cow-bell on Holiday is worth hearing in (near) isolation. For me, then, Holiday (Dub version) 6:56 uniquely, nicely complements Holiday's original mix.